[Eclipse] BO du film

Cette BO est vraiment bien , j'espère juste que les morceaux seront placés avec intelligence dans le film , pas comme pour New Moon.

Moi les titres sont enregistrés sur mon ordi donc après 24h , je pourrais continuer de les écouter.

Je suis en train de l'ecouter et c'est franchement bon
Et je te suis Ptiteaurel dans tes propos...J'espère vraiment qu'ils utiliseront cette BO judicieusement...et pas comme dans New Moon...Quel dommage

ptiteaurel a écrit:

Cette BO est vraiment bien , j'espère juste que les morceaux seront placés avec intelligence dans le film , pas comme pour New Moon.

Moi les titres sont enregistrés sur mon ordi donc après 24h , je pourrais continuer de les écouter.

J'ai écouté tard... j'écoute de nouveau, j'adore...
Mais moi je pourrai pas continuer à les écouter je sais pas faire pour les enregistrer sur mon ordi.

ce lien fonctionne encore : http://eclipsesoundtrack.com/preorder/ alors j'en profite encore un peu

Pour les enregistrer , rien de plus simple, à partir du lein que je vous ai mis sur youtube. En dessous de la vidéo, vous cliquez sur partager. Là vous collez les code Http//.... .

Vous allez sur le site keepvid ( je ne sais plus l'adresse exacte mais en tapant ce mot clé dans google ; vous le trouverez), vous collez le code et vous cliquez sur download. On vous propose divers formats, moi j'ai pris le dernier high quality mp4 et vous enregistrez sur votre ordinateur.

ptiteaurel a écrit:

Pour les enregistrer , rien de plus simple, à partir du lein que je vous ai mis sur youtube. En dessous de la vidéo, vous cliquez sur partager. Là vous collez les code Http//.... .

Vous allez sur le site keepvid ( je ne sais plus l'adresse exacte mais en tapant ce mot clé dans google ; vous le trouverez), vous collez le code et vous cliquez sur download. On vous propose divers formats, moi j'ai pris le dernier high quality mp4 et vous enregistrez sur votre ordinateur.

Ptiteaurel "trop compliqué pour moi" je vais attendre la sortie de la BO (c'est bien le 8 juin !)

Si je peux le faire , tu peux le faire , c'est super simple

Trop tard, j'ai quand même voulu essayer, le lien est suspendu, comme ça pas de regret

Gros coup de Coeur pour: Florence + the Machine's,Sia et bien évidemment Muse(Excellente chanson)

nicolisandra a écrit:

Gros coup de Coeur pour: Florence + the Machine's,Sia et bien évidemment Muse(Excellente chanson)

Pareil!!!! et l'aspi Nicolisandra, tu l'as encore laissé tomber??

Ptiteaurel, t'as toujours de super plans, chapeau

Idem coup de coeur pour Florence and the Machine's (que j'adore !) et Sia
voila le lien de la Bo en mp3 si ça vous dit !

Spoiler:

ptiteaurel a écrit:

Cette BO est vraiment bien , j'espère juste que les morceaux seront placés avec intelligence dans le film , pas comme pour New Moon.

j'ai écouté quelques morceaux et du peu que j'ai entendu, j'aime ! et comme toi j'espère que ça serait fait intelligemment l'intégration des titres dans le cours du film (et puis on ne dit plus New Moon, mais "La purge" maintenant, c'est le nouveau titre )

Qui l'a inventé ce titre ? C'est toi

euh voui

Désolé Valériane mais moi j'ai beaucoup aimé la BO de New Moon

La BO est bien mais c'est l'utilisation qui en a été faite dans "La purge" qui est calamitique

Arrivé trop tard pour écouter la BO

alex007 a écrit:

Idem coup de coeur pour Florence and the Machine's (que j'adore !) et Sia
voila le lien de la Bo en mp3 si ça vous dit !

Spoiler:

Je crois que le lien est déjà bloqué !!!! moi aussi du peu que j'ai attendu j'adore .... vivement la sortie

Exclusive Interview: Howard Shore discusses the passion-play within THE TWILIGHT SAGA: ECLIPSE score

In the last decade, Howard Shore is among the very few Hollywood film music composers to become a household name. Although he has been in the business since the 1970s and racking up over 80 film and television credits, Shore’s name rose to international stardom in 2001 when he carved the musical landscape for Peter Jackson’s THE LORD OF THE RINGS trilogy. Shore won three Academy Awards, three Golden Globes, and four Grammys just for those three films.

Since then, he has enveloped himself in the world of high drama, scoring such emotional (and suspenseful) rollercoasters as THE DEPARTED, GANGS OF NEW YORK, EASTERN PROMISES, A HISTORY OF VIOLENCE, and EDGE OF DARKNESS, among many others.

Recently, he has added his name to another viciously famous franchise, THE TWILIGHT SAGA, providing the score to what will undoubtedly be a summer blockbuster, ECLIPSE. Shore has had his share of skeptics questioning his rationale for taking on such a project, but with one listen to the score, any doubt melts into the “twilight.”

The ECLIPSE score, at its core is a tumult of extreme emotions, where at any given time, it is simultaneously sincere, alluring, and terrifying. Shore makes extensive use of solo piano for character themes, displaying a naked vulnerability uncapturable by any other instrument. And his penchant for heaving violins and cellos are the earth Stephenie Meyer’s characters trod upon. ECLIPSE can pounce on you like a ravenous jaguar, cloud your judgment like a dense fog, or tantalize your senses with kaleidoscopic color-tones.

Howard Shore is a master of creating realms where nightmares and fantasy bleed together, and where beauty and the beast often inhabit the same body. While his time is strongly in demand, we did manage to obtain a bit of time to chat with the man who casts a twilight shadow on ECLIPSE!


How did you come into working on the ECLIPSE project?

They just asked me to work on it, and that was pretty much it. It really was as simple as that.

With NEW MOON, Alexandre Desplat admitted that he ignored Carter Burwell’s score for TWILIGHT and did not even see the first film. Did you follow that same mentality with ECLIPSE?

No, I actually did some pretty thorough research. I like to read a lot, and I knew the story. I was really interested in it from a dramatic point of view. And I felt that the story expands with the third film. I did the research and fell into a very interesting creative process. It was a pleasure to work on.

And I found both guys’ scores to be very good. Carter’s was such a good score, and Alexandre’s was just beautiful.

How was the experience tracking for songs through ECLIPSE?

I worked with Emily Haines and James Shaw of the group Metric, and Metric was a group that I had researched and felt that they would be good collaborators for this project. I asked them if they would be interested in writing with me, and the three of us created the song “Eclipse (All Yours).” I actually like the collaboration of working with different artists.

And that is something that you see less and less of in Hollywood. Back during the heyday of James Bond, you would almost always see a composer co-write the movie’s theme song.

Yes, yes! I enjoy that very much.

Listening to the ECLIPSE score, I noticed that you made Jacob the primary musical character, while using Bella as a sort of surrogate, bookending character.

He’s an important part of the story, and his character is an important element in the arc of the story. The timing was right in the third part to work with Jacob’s feelings and the dramatic arc of Jacob’s story. The Jacob character wasn’t really developed until the third film. It just felt right.

Since there were no previously established themes for Jacob, Victoria, Rosalie, Jasper, and Jane, did you feel any weight to present them in a proper fashion?

Definitely. I write how I feel where the emphasis is. And the emphasis for this part of the story might have been different from what had come before. So it just felt right for me to focus on and emphasize certain themes in the story.

Do you find yourself becoming emotionally invested in scoring these extremely dramatic films?

I do, I do become emotionally invested. I want to write and feel the drama. Music is essentially an emotional language, so you want to feel something from the relationships and build music based on those feelings.

And that’s why I think ECLIPSE is right up your alley as a perfect project.

Yeah, it is. Film music is essentially the essence of what it is, writing to the emotional impact of the story.

It seems very important to you to make your music available to the public, and that is something you do not see many composers strive for. What is the rationale behind releasing things like the complete scores for THE LORD OF THE RINGS, and the HOWARD SHORE: COLLECTOR’S EDITION, and things like that?

It is important to me. I like to do good versions in the print medium and complete recordings, and full CD releases of scores; also archival releases of scores, rarities CDs. There is actually a rarities CD we are releasing with the Doug Adams book, MUSIC OF THE LORD OF THE RINGS. I do enjoy working on all aspects of that music. I like the details, yes.

Next year is the 20th Anniversary of THE SILENCE OF THE LAMBS. Are you planning on doing something special for that?

I am, actually. I think there is an A&E special being filmed, which I am participating in.

Is there something buried in your psyche that draws you to these realistic-fantasy worlds; places you would like to visit, but places where you would never like to live?

[Laughs] I don’t know…maybe.

http://www.examiner.com/examiner/x-12873-Soundtracks-Examiner~y2010m6d3-Exclusive-Interview-Howard-Shore-discusses-the-passionplay-within-THE-TWILIGHT-SAGA-ECLIPSE-score

ally49 a écrit:

alex007 a écrit:

Idem coup de coeur pour Florence and the Machine's (que j'adore !) et Sia
voila le lien de la Bo en mp3 si ça vous dit !

Spoiler:

Je crois que le lien est déjà bloqué !!!! moi aussi du peu que j'ai attendu j'adore .... vivement la sortie

Je viens de tester et ca l'air de marcher !
au pire je l'a remettrai en changeant de nom !!

Vampire Week-end parlent de rob dans une interview:

The Colbert Report	Mon - Thurs 11:30pm / 10:30c
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Source:Spunk-Ransom

Mince je croyais que Rob était présent! J' étais persuadé que c' était lui!

Eclipse Soundtrack bleeds appropriately over-the-top drama queens tunes

Vampires aren't only sexy and dangerous. They're also first-class drama queens.

Think about it: They skulk around in the dark, lure their victims with savage lust, then doom them to a world of secrecy and alienation that often leaves them feeling haunted or ashamed.

Over-the-top enough for you?

Happily, the third and latest "Twilight" soundtrack sinks its teeth into that aspect of vampirism with relish. It's as theatrical as anything on Broadway and as exaggerated as anything from the world of Hammer horror films.

Never has this been truer than on the CD's first single, "Neutron Star Collision." It comes courtesy of Muse, a grand British trio who have become something of a, well, muse to the whole soundtrack series. They’re the only act to appear on all three CDs, as well as the one that best represents the project's particular flair. For Muse's new song, frontman Matthew Bellamy comes on like Freddie Mercury in full diva mode, turning every word into a pronouncement from the mount. "We’ll die/We’ll die together!!!," he declares, as if leading thousands into war.

The music buttresses his grandeur, mixing the candelabra flourish of Andrew Lloyd Weber’s "Phantom of the Opera," with the berserk theatricality of Queen's "Night At The Opera." Guitars chime orchestrally. Drums gallop defiantly. Even the bass lines find a heroic note. Consider it the sonic equivalent to bodice ripping.

The Bravery attempts something equally outsized on "Ours," a piece of '80s retro-pomp that ably recalls period anthems from Big Country and Simple Minds. Other tracks take advantage of the ghostly qualities of their female singers, from Sia to Metric’s Emily Haines to Florence (of The Machine, fame). Their tracks all bathe the singers in the shadowy sheen of echo.

While the first "Twilight" CD wimped out by employing mainstream and emo bands, the new one follows the pattern of its predecessor ("New Moon") which went for something more hip and new. This time we get England’s Fanfarlo, whose singer Simon Balthazar has the right androgynous quaver for this fay world. Bat For Lashes flutters spookily through a track with Beck, while The Dead Weather somehow connect this Gothic world to spaghetti westerns.

Not everyone got the memo to keep things dark. Vampire Weekend’s flitty little Afro-pop has too much perk for this milieu, and Cee-Lo’s song sounds as frothy as something from the world of Mersey Beat. Yet even their songs want nothing in the way of catchiness, which underscores the CD’s real feat. Like any good vampire tale, "Twilight" runs right up to the border of camp before stopping, safely, in the realm of the grand.

Source:CullensNews

Une chanson bonus qui sera sur la BO version Mexicaine et Espagnole: